FILM REVIEWS:
BAM BAM: THE SISTER NANCY STORY (Canada 2024) ***
Directed by Alison Duke
The Crave original documentary celebrates Sister Nancy. Ophlin Russell (born on 2 January 1962), better known as Sister Nancy (or Muma Nancy), is a Jamaican dancehall DJ and singer. She is the first female dancehall DJ and was described as a "dominating female voice for over two decades" on the dancehall scene.
Dancehall is a genre of Jamaican popular music that originated in the late 1970s. Initially, dancehall was a more sparse version of reggae than the roots style, which had dominated much of the 1970s. It was not until the 1980s when the style was officially named when the two words Dance and Hall the common venue joined to make one word DanceHall; for the first time, it was staged and promoted internationally.
In the film BAM BAM: THE SISTER NANCY STORY, award-winning filmmaker Alison Duke combines dynamic tour performances; insightful interviews with industry figures like Janelle Monae, Young Guru, and Pete Rock; and archival footage of the early dancehall scene illustrating Sister Nancy’s enduring prominence in reggae and hip hop. Entertaining and empowering, Sister Nancy’s story proves that great music overcomes obstacles, and staying true to oneself is the key to success — both in the music industry and in life.
The film is only part biopic as it concentrates on her career as a grown-up. There is no mention of other childhood, she was one of 15 children growing up in Jamaica.
A few of Sister Nancy Nancy’s quotes:
“If there is money, I will keep working.”
“I do everything for myself.” (She is unafraid of saying she does cocaine on camera in the film.)
What does Bam Bam (pronounced Bum Bum) mean? Bam Bam is the hit song of Sister Nancy in the 60s. “When you come mess with me then, it will be Bam Bam.” That is how Bam Bam can be interpreted. Bam Bam is a very iconic song, one that creates a moment of hurt. The hit song “Bam Bam” has long held the status of an anthem in the reggae genre and is one of the most sampled vocals ever. Less known is the story behind the song and, even more so, the woman behind the voice. There is footage of Sister Nancy performing Bam Bam around the world, from Croatia, Australia, Hong Kong and New York City.
The doc is as energetic and hilarious as its subject, Sister Nancy. This reggae artist rocks and so does the film, especially when she is shown performing on stage. The last part of the doc follows the trailblazers as they fight for ownership of the song. Unfortunately, this is not that compelling a watch.
It is funny that she worked as an accountant at a bank in New Jersey (and is now currently retired from the profession.) She could relax and do what she wanted after being awarded royalties that were finally paid to her while she was at the bank.
BAM BAM: THE SISTER NANCY STORY opens in select theatres on January 31st and streams on Crave from February 17th.
CLONE COPS (USA 2023) **
Directed by Donny Dones
CLONE COPS is a goofy and campy sci-fi comedy with a cops and robbers theme. It takes a while to establish what is going on from the first 15 minutes.
CLONE COPS tells the story of an alternate future where a gang of outlaws must defend their lives against an assault from the hottest product on the market -- a disposable police force cloned in a lab and programmed for violence. The gang battles waves of replicating security forces until they discover a shocking secret about who they are and what they're up against. \
Ahead of the official release, Dones shared of his movie, “We made this movie for people who love campy sci-fi comedies, and we’ve been having a blast showing it to them at festivals and theaters across the country. Now, we can finally bring this weird little indie flick to people’s living rooms! I want to thank our incredible cast and crew for everything they’ve contributed, and the continuing support they’ve shown for Clone Cops as we’ve worked to bring it to screens large and small. Making this movie was so much fun, and now we get to share that experience with audiences everywhere!” Well, the film is campy and silly, but not as funny as Dones thinks it to be. When shown in festivals, the festival audiences are usually kinder to the filmmaker, who is almost always there to introduce his or her film, The film plays like a childish comic book with a nostalgic 70s sci-fi look at best.
CLONE COPS opens in limited release in the United States in select cities but is available on VOD across North America on the same day.
Trailer:
COMPANION (USA 2025) ***
Directed by Drew Hancock
` Everyone loves a companion. The premise of the film purports that the sex doll can be attuned to A.I. capabilities resulting in a programmable companion for any human being. Just like last year’s horror hit THE SUBSTANCE, things will go wrong if one does not follow the rules and instructions. When the ‘companions’ are re-programmed by the user, especially for in intelligence to go up to the level of 100%, only disaster can be expected.
The white eyes of the girl in the poster without any black pupils give it away that the girl is some A.I. robot. And indeed this is the case, as the first twist in the plot occurs roughly around one-third of the film’s running time. This is not the only twist in the plot, thankfully, a plot containing a story is clearly the best thing about this otherwise just ok movie. Director Hancock makes it a point to up the ante whenever he can, which more than pleases the crowd at the promo screening Attended. It takes the first third of running time before the film gets its footing, the first third just trudging along with cliched events, though one can argue the events are supposed to be that way.
COMPANION follows a weekend getaway among friends at a remote cabin, which unravels into chaos after a revelation that one of the guests is a companion robot.
Performance-wise, the cast does a fair job, no complaints but expect no Shakespearean acting here. The actors react more than act. Fortunately, there is more to react to in the film.
COMPANION tries to score the high bar that last year’s THE SUBSTANCE achieved, It never achieves that level, but given the multiple twists and turns in the story, COMPANION makes a good entertaining companion piece to it.
COMPANION, with a modest budget of only $10 million is the sort of perfect financial filmmaking. In this sparse time of new releases, COMPANION should not doubt to uncap its production costs and give Warner Bros. a tidy profit. The film opens in theatres on January 31st.
Trailer:
I’M STILL HERE ("Ainda Estou Aqui”)(Brazil/France 2024) ****
Directed by Walter Salles
I’M STILL HERE is foremost a political film, as the words on the screen at the start inform of the Brazilian dictatorship in Brazil and the runaway inflation, before the film centres on a family in Rio de Janeiro. The film is based on the book of the same name ("Ainda Estou Aqui") by Marcelo Rubens Paiva; tackling the arrest and disappearance of Rubens Paiva in 1971, Marcelo's father, during the military dictatorship in Brazil. The film was nominated for the Golden Lion at the 81st Venice International Film Festival and the Oscar for the year's Best International Feature.
I’M STILL HERE is directed by renowned Brazilian filmmaker Walter Salles. He has not made a film in 12 years, the last one being ON THE ROAD in 2012. Salles is most known for his Golden Bear-winning film CENTRAL STATION.
I’M STILL HERE is a layered film covering multiple genres and storylines. The film could have been made into separate films. The film takes a primary look from the female side from the family's matriarch as well. as a little, from the eldest daughter. The father of the family is also given due screen time, him revealed as a caring father though sympathetic to political causes, thus making him 'suspect' by the dictatorship. As far as different genres go, the film is part of a family relationship/drama, a political thriller (with disturbing prison conditions) and coming-of-age as in the daughter's view.
Director Salles hones in on the psychological effect of ‘not knowing’. When the father is taken away, the family is left uninformed of his whereabouts as well as the reason for the affair, where he was arrested or kidnapped. When the mother is in prison, she is hooded, so she does not know where she is being taken. She also does not know where her husband is, her daughter is and how long she will be kept in custody, The effect of not knowing is often worse than revealing one’s worst fears.
The film has a strong political slant. In one scene, a prison guard who takes Eunice away tells her in confidence that he disapproves of what is happening. The segment shows that many people feel the same way but are too scared to do anything. A political activist, in December 2023, alongside 50 other filmmakers, Salles signed an open letter published in Libération demanding a ceasefire and an end to the killing of civilians amid the 2023 Israeli invasion of the Gaza Strip, and for a humanitarian corridor into Gaza to be established for humanitarian aid and the release of hostages.
I’M STILL HERE had its world premiere at the 81st Venice International Film Festival, where it received critical acclaim, with unanimous praise for Torres' performance, and was awarded the Best Screenplay prize. In September 2024, the film was selected as the Brazilian entry for Best International Feature Film at the 97th Academy Awards. The film won the nomination. It opens on January 31st.
Trailer:
LUCCA’S WORLD (Los dos hemisferios de Lucca) (Mexico 2025) ***
Direct3d by Mairana Cheniio
Lucca was born with severe cerebral palsy and his mother will stop at nothing to help her son survive. This involves mortgaging their residence and paying for the family to travel to India for Lucca’s treatment. Based on a true story. The film is based on the book Los dos hemisferios de Lucca.
The film starts at the very beginning with Lucca’s birth. Bárbara Anderson (Bárbara Mori) is an expectant mother with all the jitters of a first-time pregnancy. She and her husband Andrés (Juan Pablo Medina) arrive at the hospital too early–but then her water breaks, starting the clock to when contractions get shorter and it’s time to give birth. She delivers Lucca * (Julián Tello) but blames herself for not pushing enough for Lucca’s demise.
The film tries to cover all areas of the family drama. The money involved, the husband and wife conflict, and the hope in the face of hopelessness are all included to show the audience how much the family and particularly Barba4a is going through. The husband is supportive and the audience can see, it is only up to a point. To make matters worse, Barbara loses her job in the process for spending too much distraction from her work,
All this is fine, but director Chenille tries too hard to take the message across. At its worst, there is a song with lyrics to tell exactly how the audience should feel.
It would be cruel to crucify a film like LUCCA’s WORLS for its good intentions in trying to show the triumph of the human spirit over all adversity, And, in terms of production values and performances, the film cannot be faulted.
LUCCA’S WORLD is available to stream on Netflix this week.
Well-made triumph over the human spirit family drama that tries at times too hard that it becomes obviously manipulative
Trailer:
